The Corset and the Hijab. Absence and presence in the 19th and 20th-century Fashion System

Introduction The corset and the hijab : more than emblems of two societies and cultures, those two objects could perhaps be classed as being among the most evocative items of dress produced by two traditions often addressed as opposed : English and Egyptian cultures. Placing both objects and the two selected locations in parallel may seem, for some, a comparison not possible and, hence, surpassing the possibilities of the semiotic theory ; however, looking closer at both objects, not only they produce similar trajectories in time, but similar values are invested in, and manifested through them, as we hope to show. As much as England is an epicentre of Western culture and remains a dictator of Fashion trends and a centre for the qualification of designers, Egypt, as well, is a pivot of cultural and political life in the Arab world. Similarly, while the British cling to their glorious monarchical, colonialist history, Egyptians are tied to their Pharaonic past likewise, pulled in opposing directions, also being at the forefront of the proximity with both the Arab and Western worlds1. By presenting Egypt as a country similar to England in history and cultural influence, both nations can be placed side by side at least as a corpus to analyse the trajectories of feminine dress, while also serving to fulfil Edward Said’s celebrated statement about the West and the Orient being, contrary to the prevalent discourses, reversed reflections of one another2. Both sartorial objects, traditionally and normatively worn by the woman, share more with each other than being part of the feminine wardrobe. Although it is not customary, in Fashion theory, to talk about “Fashion” as something existing outside of Western culture, this reflection aims at the argument that the transit of values that forms the rhythmic changes in Fashion systems is also shared by corset and hijab and, consequently, by the cultures producing those objects. “Fashion is defined by change” is probably one of the most succinct illustrations of a Western obsession since the 18th century : Fashion is a mode of existence marked by correlational hierarchies — a system — which governs the alternation of different appearances periodically, through processes of erasure and renovation. Hence, the Fashion system is marked by the punctual aspect : the attempt to prolong the duration of a vogue is precisely the signature of the kitsch, the demodé, or what stayed outside of the loop of change, choosing persistence over renewal.